The highlight for many was Bruce Peninsula, a new Toronto band that's evolved over the space of ten gigs in the last year. Rooted in traditional spirituals and blues, the rugged gospel vocals are shared by a female choir and guitarist /marimba man Neil Haverty, with a dextrous rhythm section behind them that have obviously been schooled by the Thrill Jockey roster while simultaneously soaking up the Alan Lomax collection.
But the specifics aren't as important here as the effect it had on the audience. There's an inherent joy in seeing a family band such as this: mixed gender, choral vocals, and melodies meant to uplift and offer some glimpse of salvation. The staging helped, as well: an ever-so-slightly-sloped tiny natural ampitheatre, where the stage was set in a beautiful orchard; one had to peer through tree branches to see some band members.
Because of the size of the band (approx. nine or ten, if my sunstroked memory serves correctly), they obviously had many friends in the tightly knit audience. But for everyone else, it was one of those moments where with each successive song, you could feel everyone around you falling deeper in love and losing themselves in the joy of the moment. Applause and enthusiasms increased exponentially after each song, with some even moved to tears. These are the moments that every music fan lives for, the kind that are all too often spoiled by hype machines both macro and micro. Even writing about this now seems to sully the special moment.
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